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George Bellows 
Memorial Exhibition 


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In organizing a memorial exhibition of the works 
of George Bellows, the Trustees of the Museum 
have wished to do honor to an American artist of 
high distinction and unusual versatility, whose powers 
were just reaching their full maturity when he died, 
although they had already received wide recognition. 
That it has been possible to illustrate the remarkable 
variety of his interests so fully and by such notable 
examples is due to the generous responses of those 
who were asked to lend, to whom the Museum grate- 
fully acknowledges its indebtedness, as well as to the 
members of the special committee in charge of the 
exhibition for their helpful codperation. It 1s under 
especial obligation to Messrs. Robert Henri and Eu- 
gene Speicher, who, with Mrs. Bellows and our Cu- 
rator of Paintings, selected the works to be exhibited, 
and to Mr. Frank Crowninshield for his preparation 
of the Catalogue and its Introduction. 


For the Trustees, 
Epwarpb Rosrnson, Director 


New York, N. Y., September 25, 1925. 


Copyright Alfred Cohn 


George Bellows 


From a photograph made in September, 1924 


The Metropolitan Museum of Art 


Memorial Exhibition 


of the Work of 


George Bellows 


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New York 


October 12 through November 22 


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Copyright 1925 by 
: | The Metropolitan Museum of Art 
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Committee on the Exhibition 


Francis C. Jones, Chairman 
GIFFORD BEAL 

Epwin H. BiasHFIELD 
Bryson BuRROUGHS 

A. STERLING CALDER 
Joun Jay CHAPMAN 
Miss MasBet CHOATE - 
FRANK CROWNINSHIELD 
RANDALL Davey 

Paut DouGHERTY 
Wituiam J. GLACKENS 
Mrs. MerepiryH Hare 
RosBert HEnrI 
WitiiaM M. Ivins, Jr. 
Lron KROouLzi 

Mrs. Dre Acosta Lypic 
GeorGeE B. Luxs 

Paut MansHip 

Gart MELCHERS 
OrARTHeI aL LATT 
EpwarbD RosInson 
JouNn SLoan 

EUGENE SPEICHER 
Mrs. Harry Payne WHITNEY 


Francis WILSON 


Lenders to the Exhibition 


ALBRIGHT ART GALLERY, BUFFALO 
Art INsTITUTE OF CHICAGO 

Mrs. Georce W. BELLOws 

Museum oF Fine Arts, Boston 
Brookityn Museum 

CaRNEGIE INsTITUTE, PITTSBURGH 

J. S. CARPENTER 

STEPHEN C. CLARK 

CLEVELAND Museum oF ART 
CoLuMBus GALLERY OF FINE ARTS 
E,pWARD CoYKENDALL 

Detroit InsTITUTE OF ARTS 

Mrs. Perer GLick 

Mrs. CHarRLes W. GooDYEAR 

Mrs. J. J. KERRIGAN 

ApDOLPH LEWISOHN 

Museum oF History, ScIENCE AND ArT, Los ANGELES 
Howarp B. Monetrr 

Rosert [Treat Paine, 2ND 

Miss Jutia E. Peck 
RanDoLpH-Macon Woman’s COLLEGE 
RuopE IsLAND SCHOOL OF DESIGN 
Mrs. CHarLtes WETHERILL MacDurr SMITH 
Joun T. SpauLpING 

ToLepo Museum or ArT 


Mrs. Harry Payne WHITNEY 


Contents 


Committee on the Exhibition 5% 
Lenders to the Exhibition 8 
Introduction II 
Brief Biography aD. 
Catalogue of Oil Paintings | 23 
Catalogue of Drawings 23 
Catalogue of Lithographs obs 
Reproductions: Paintings 39 
Reproductions: Drawings 105 


Reproductions: Lithographs 119 


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Introduction* 


EORGE BELLOWS, during his nineteen years of work, 
painted exactly as he pleased. He paid no heed to what, at the 


moment, was lucrative or fashionable; sought no distinguished 
patrons; adopted no clichés; and flew, with singular persistency, in the 
face of public taste. Some of his critics, after a few years of guidance, 
gave him up, a little in despair. He painted, they said, “‘ugly” things; 
he had no “‘suavity, elegance or grace”; he was motivated by the tastes 
of the “average” man; he was “crude.” 

And yet, today, nine months after his death, Europe is asking for 
a loan exhibition of his work; writers are preparing monographs; his 
lithographs are being sought out as if they bore the name of Daumier 
or of Delacroix; the British Museum is beginning a collection of his 
prints; while dealers, museums and patrons of art have begun to pay for 
his work what the artist himself would have deemed fantastic prices. 

And, finally, the Metropolitan Museum of Art bestows upon him 
the highest honor which can be accorded an American painter, an honor 
heretofore attained by nine only of our native masters, Whistler, Wins- 
low Homer, Chase, Thomas Eakins, Ryder, Abbott Thayer, George 
Fuller, F. E. Church and Alden Weir. 

Note, however, one thing; that the men so recognized by the Metro- 
politan Museum were all vouchsafed from twenty-five to thirty more 
years in which to accomplish their labors than were allotted to Bellows. 
Note also that it was during the final twenty-five years of their lives 
that their most significant work was accomplished. The example of 
Winslow Homer is a pertinent one. Had Homer died, as Bellows did, 
at the age of forty-two, the world would know him not at all; for it 
was not until his forty-fourth year that-he turned, whether at Glouces- 
ter, Tynemouth or Scarborough, his inspired attention to the sea. 

This tribute by the Metropolitan Museum to a painter who made 
anarchy so much of an avocation, and who paid such negligible heed 
to “schools” and the ratified formulae of art, should hearten every 
vigorous and original young painter in America. 


* A short biographical sketch of George Bellows will be found on page 
22 of this catalogue. 


II 


Introduction 


“The proof of an artist,” Walt Whitman has explained, “‘is that his 
country absorbs him as affectionately as he has absorbed it.” On all sides 
there are auguries and portents to indicate that America has begun— 
and with some little measure of affection—to absorb George Bellows. 
This far-reaching change in our attitude toward him as a painter, is a 
phenomenon that rests, -not upon a single cause, but upon a diversity of 
reasons. It is to those reasons that this note of introduction must ad- 
dress itself. 


The Man Himself 


First of all, there was Bellows himself, a young man coming to New 
York, in 1904, fresh from college in Ohio. His father was a builder 
and architect in Columbus, Ohio. To put too much emphasis on the word 
Ohio, however, would be a little misleading, for the painter was not, 
in a true sense, a product of that state, his people having derived from 
the Montauk end of Long Island, where his grandfather had been a 
whaler of renown. 

When Bellows arrived in New York he was without sophistication, 
patrons or means. His practice in art had been limited to a few illustra- 
tions in his college paper. In appearance he was tall, shambling and a 
little ungainly. By nature he was of a firm and elevated character; de- 
termined, enthusiastic and honest to the point of bluntness. He liked, 
inordinately, baseball, music and reading. He was interested in every 
manifestation of the painter’s art. He reacted quickly to the welter of 
life in New York and was soon absorbed by it. 

But New York never quite mastered him. Year in and year out, the 
city, it is true, intrigued, energized and inspired him, but it failed in 
any essential respect to alter his nature or his simple creed of living. 
In the democracy of his feelings, the tangential nature of his enthusi- 
asms and the homeliness of his character, he remained precisely what 
he had been when he left college. 

He had lived in New York but a short time before he encountered 
Robert Henri. That meeting, Bellows would tell you, was the most 
fortunate incident in his career, for, during the next twenty-one years, 
Henri was to lend him great aid, first as a teacher, then as a philosopher, 
champion and friend. It was Henri who first felt the heat of his initia- 
tive; who urged him to express his personality, net; and to trust im- 


I2 


Introduction 


plicitly his aesthetic reactions. It was his early training under Henri 
that largely determined the direction of Bellows’ talents. The two 
men continued to feel and to think about art in the happiest concord, 
but the depth and duration of their friendship rested not alone upon 
that, but upon the similarity of their views with respect to ethics, con- 
duct and character. 

When Bellows, in 1906, began exhibiting his canvases, the trite and 
the sentimental were qualities in art that seemed to be in the ascend- 
ant. [he task that confronted him was to counteract the super-refine- 
ment of the day—the too great literalness and banality of it—and to 
impose upon it what measure of gaiety, invention and sincerity he 
could summon to his command. Fortunately, however, the crusade did 
not need to be waged single-handed, as Henri, Sloan, Glackens and 
Luks had been waging it valiantly before the younger man’s arrival 
upon the scene. 

At the very beginning of his career the art museums of America 
began correctly to appraise his stature as an artist. In 1908, two years 
after the completion of his first canvas, a painting by him found its 
way into the permanent collection of the Pennsylvania Academy. 
Shortly after that a river landscape of his was acquired by the Metro- 
politan Museum of Art. At the age of twenty-seven he was elected an 
Associate of the National Academy of Design, the youngest painter 
ever to be so recognized. Even his first-year canvases (1906) had 
been looked upon with enough favor to be exhibited in New York. 
(Three of these—full of a singular maturity and authority—are in- 
cluded in this exhibition: the Cross-Eyed Boy (p. 41), Portrait of My 
Father (p. 53) and Early Standing Nude (p. 45).) Notwithstanding 
those early signs and intimations, however, ten years were to elapse be- 
fore Bellows was to meet with anything like financial success. During 
all those years he was never beyond the reach of poverty. 

As time went on Bellows began more and more to embody the geog- 
raphy and democracy of our country. For one thing, he never set foot 
in Europe. All of his reactions, all of his emotional qualities, were de- 
rived from America; from the soil, sky, wind and water which he knew 
and observed so well. Many explanations have been offered for his 
continued refusal to leave America, the simple truth being that the 
call to leave was too faint, the need to stay too strong. 


13 


Introduction 


But if the continent of Europe was never to receive him, im propria 
persona, he none the less paid devoted pilgrimages to the works of such 
of its masters as were represented in American galleries. To Tintoretto, 
Titian, Hals, Velasquez, El Greco, Goya, Daumier and Manet he 
bowed the knee in particular idolatry. But from the work of the more 
modern Europeans—the contemporary painters of France, let us say— 
he seemed to derive no tonic or influence. 


His Removal from European Influences 


His imperviousness to the modernistic European painters is attested by 
the fact that, during the nineteen years of his painting, Cézanne, Picasso, 
Matisse and Derain became paramount figures in the world of art. 
During those same years the great Independent show at the Armory in 
New York (so brilliantly conceived and consummated, in 1913, by 
Arthur B. Davies) descended like a thunder-clap upon American art. 
Post-Impressionism, Cubism and Futurism, became, if not triumphant, 
at any rate rampant in America. Further, the so-called intellectual art 
of Germany was everywhere being exposed to view. The air was literally 
charged with these men and these movements. Bellows saw them all 
unfolding before him and seemingly enveloping the world. He not only 
saw them but respected them. He never railed at, nor derided them; but, 
for all that, they failed to alter his personal and self-directed course. 

But Bellows became the most characteristically “‘native” of our 
painters, not because he avoided Cubism and the movements that came 
with it, nor because he lived in America, but because his emotions, tastes 
and personal quality remained so purely and so completely American. 
If we, as a people, are restive, conglomerate, incautious, humorous, 
intolerant of prescriptions, inclined to bravura, so, also, are the paintings 
of George Bellows. Indeed, the native quality in him was so intense and 
so immediate that he seemed able—although here we are venturing a 
little into the realm of insoluble theory—to imbue his method of paint- 
ing itself with a character quite unmistakably un-European. In some 
of his later oils, particularly such as The White Horse (p. 85), Jean, 
Anne and Joseph (p. 97), and the Picket Fence (p. 103), (his last 
canvas), this theory of the American-ness of his technique seems to re- 
ceive something very like confirmation. 


14 


Introduction 


Bellows was blessed with the tastes of the simple, natural man. Those 
tastes included such widely diversified predilections as circuses, prayer 
meetings, basket-ball, picnics, old ladies, band concerts, swimming pools, 
ball games, river excursions, prize-fights, little children. When face to 
face with such scenes and subjects his emotions—his aesthetic appetite, 
even—seemed immediately to become aroused. It should be explained, 
at this juncture, that, while his tastes 7m living remained normal and sim- 
ple, his taste in matters of art, music, literature and drama had always 


shown Itself to be fastidious and recondite. 


Simplicity of His ‘Tastes 


AND this leads us to recall that what Roger Fry once said of Renoir— 
both as a painter and as a man—is so precisely applicable to Bellows 
that we may be forgiven for quoting it at length. Mr. Fry begins by 
pointing out that the few painters, or writers, who have shared the 
tastes of the natural or average man, have as a rule been, like Dickens 
(to take the most obvious instance), very imperfect and very impure 
artists, no matter how great their genius. 

“But what is so very peculiar about Renoir,’ Mr. Fry continues, 
“fs that he had a perfectly ordinary taste in things and yet remains so 
intensely, so purely an artist. He was so much an artist that he never had 
to go around the corner to get his inspiration; the immediate, obvious, 
front-view of everything was more than sufficient to start the creative 
impulse in him. He enjoyed, instinctively, almost animally, all the 
common good things of life, and yet he always kept just enough detach- 
ment to feel his delight aesthetically. He kept, as it were, just out of the 
reach of appetite. More than any other great modern artist, he trusted 
implicitly to his own sensibility; he imposed no barrier between his 
own delight in certain things and the delight which he communicates. 
He liked, passionately, the obviously good things of life, the young 
human animal, sunshine, sky, trees, water, the things that everyone 
likes; only he liked them at just the right distance and with just enough 
detachment to replace appetite by emotion. But what gives his art 
so immediate, so universal an appeal is that his detachment went no fur- 


ther than was just necessary. His sensibility is kept at the exact point 


T5 


Introduction 


where it is transmuted into emotion. In all his work, he could trust reck- 
lessly his instinctive reactions to life.” 

An admirable portrait of George Bellows! 

The critics who have attempted to find an exact counterpart for Bel- 
lows in art, have, with singular persistence, pointed to Honoré Daumier. 
‘The likeness may at first seem striking, but it remains wide of the mark 
in three respects. First, the greater warmth of the American; second, 
the absence in him of anything malicious, macabre or maladif; and, 
finally, his greater preoccupation with reality; for the types and visions 
which Daumier has noted down for us remain a good deal more exag- 
gerated, spectral and unsubstantial than those which haunted the eyes of 
Bellows. 

But, between Bellows and the painters of America, resemblances be- 
come still more vaporous and blurred. In casting about for a counter- 
part to Giotto, the Italian historians were forced to find it in Dante. 
Similarly if we would discover the precise American prototype for 
Bellows—both with regard to his beauties and defects—we must select 
a figure, not from our art but from our literature; the figure, to be 


explicit, of Walt Whitman. 


Walt Whitman, and the Crowd 


A COMPLETE review of the qualities shared by these two Americans 
would be a long one, but of a few of them mention must certainly be 
made. There is, for instance: their insistent Americanism; the mys- 
terious and dilating energy of their creations; their personal assertive- 
ness and flourish; their zest in chanting the hymn of Democracy; their 
distrust of outworn forms; their hatred of fashion and all the enervat- 
ing elegances; their preoccupation with commonplace objects and 
pleasures and their rooted attachment to “‘vast-darting and superb-faced 
Manhattan.” 

It might be said of Bellows, as it could certainly be said of Whitman, 
that his defects included a too implicit belief in the value of first im- 
pressions; a robustness and gusto often stressed at the expense of grace; 
a tendency to overburden his canvases; and a too insistent note of 
bravado. But these defects in the two men will, upon examination, be 
discovered to be the infallible associates—the necessary complements— 


16 


Introduction 


of the very qualities in them which make them great; their boldness, 
candor and initiative; their passionate interest in the natural man; their 
hatred of the “mode”; and their absolute and entire originality. 

He was perhaps the first of our painters—as Whitman had been the 
first of our writers-—to pay anything like inspired attention to the city or 
the crowd, though Sloan, Shinn and Luks had all been similarly attracted 
—but to a less intense degree. ‘The universe, to him, was distinctly a 
peopled vision. Man was always the primary datum or unit. From that 
unit he proceeded rapidly, in human multiples, to the group or crowd. 

He became singularly expert in conveying the feeling of motion in 
the crowd. To such a scene he was able to impart an almost fluid quality, 
as if his aim had been to uproot the principle of growth in living forms, 
and translate it into design. ‘he creative impulse in him was always 
tugging at his sleeve. Anything or anybody, apparently, served to ener- 
gize him—a subject in his studio, out of the window, down the alley, 
in a book. To this generalization there was only one exception! Bellows 
was always suspicious of subjects that were “charming” or “graceful.” 
He never painted “chic” women, or “pretty” girls. Portrait painting, 
of the current or fashionable type, interested him not at all. The word 
“mode” meant nothing to him and he refused to permit sitters, dealers 
or friends to impose it on him. His taste in subjects leaned always toward 
the native and authentic, as though the task of the historian were linked, 
in his mind, with that of the painter. 

In connection with this national and authentic quality in his art, it 
may not be amiss to recount the following anecdote. ‘The Director of 
the Luxembourg Museum, in Paris—chancing to be in New York— 
was not long ago conducted through the galleries of the Metropolitan 
Museum of Art where the work of two hundred and thirty of our 
American painters is now exposed to view. He strolled idly about among 
the canvases, the authors of so many of which had borrowed from 
Europe not only their aesthetic viewpoint but their schooling and method 
of painting as well. The visitor was polite, affable even, but not aston- 
ished. Suddenly, before the group of marines by Winslow Homer, he 
stopped, abruptly. “Ah! that,” he said, with some emphasis, “is an 
American.” The contention is here made that the visiting Director 
would infallibly have experienced the same reaction before a group of 


pictures by George Bellows. 
I] 


Introduction 


An Authentic Historian 


INDEED, he is, among our native painters, the most authentic of Ameri- 
can historians, so great is his sense of character, his gift for making us 
see, in a single group or portrait, an entire social class, a rounded social 
epoch. ‘Take, for example, his portrait of Mr. and Mrs. Philip Wase 
(p. 94). Does not this canvas constitute a complete chapter in the his- 
tory of the United States? Does it not put before us all that is left, in 
America, of Puritan austerity and rigour! How completely we are made 
to feel the discipline and self-denial, not only in the two people before 
us, but in thousands like unto them. How simply the patience and dignity 
of Mrs. Wase is suggested! In other portraits of his, such as dunt Fanny 
(p. 80), Mrs. T. in Wine Silk (p. 76), Elinor, Jean and Anna (p. 
88), and in the impressive series of E2m2ma portraits, the artist has par- 
ticularly stressed this note of dignity and compassion in the American 
woman. 

The paintings by him which achieved the most immediate and wide- 
spread popularity were the six fine oils devoted to the sport of prize- 
fighting—Sharkey’s, Introducing John L. Sullivan, Dempsey—Firpo, 
Club Night, Ringside Seats, and Both Members of This Club. Some of 
these canvases are to be seen in this exhibition. Of the six mentioned, 
Dempsey—Firpo (p. 102) was the last to be completed. 

Much has been written concerning his alternating, almost dual sense 
of color. In his earliest period—and this we may attribute to the influ- 
ence of Henri—he was painting a good deal in black and white and 
the earth reds and yellows. Later he strove for more brilliance of color, 
but only if it could be achieved with some semblance of sobriety ; as if 
he were working with El Greco and Daumier in mind. For many 
years he continued to confine himself—however resonant the results 
accomplished—to a comparatively low tonal scale, a scale in which rich 
blacks, subtle blues, warm grays and dull greens played conspicuous 
parts. But as the years went by he pitched his color harmonies in an in- 
creasingly high key. Particularly at the end of his life did his palette 
become more crowded, his color more completely orchestrated. This al- 
most chronological intensification of his color was demonstrated at 
the small exhibition of his works, held, a month after his death, at 
Durand-Ruel’s. The canvases there shown included only his most recent 


18 


Introduction 


works. A single glance at them sufficed to show us how radically he had 
departed from the muted palette of his earlier periods. Witness, in 
proof of this contention, the unbelievably “singing” quality of The 


Picnic (p. 99). 
Lithography 

A CONSIDERABLE group of Bellows’ lithographs and drawings will be 
found, as a part of this exhibition, in the Print Gallery. As a lithog- 
rapher, Bellows had no equal in this country. Curiously enough, during 
the first ten years of his career, lithography attracted him not at all; 
but it was destined, during the last nine years of his life, to absorb an 
immense amount of his attention. His first lithograph was entitled 
Village Prayer Meeting (p. 120). It was drawn on the stone in 1916, 
in New York, and was frankly inspired by a sketch which he had pre- 
viously made on Monhegan Island, Maine. As he continued to work in 
the medium he found it more and more suited to his nature. He seemed 
always to derive a pleasurable thrill from the feeling of the crayon on 
the stone. 

He achieved, in lithography, a gallery of one hundred and seventy 
prints, covering such a wide variety of subjects as satirical portraits, 
street scenes, nudes, disasters, family groups, prize-fights, shipwrecks, 
electrocutions, allegories, and many of the turbulences and agitations 
of city life. He seemed to feel, in selecting his subjects for lithography, 
—just as he had felt in painting,—that it was the duty of the competent 
artist to attempt any subject that came along, to explore any and every 
field of emotion; to attack it boldly and not be afraid of it, even if, at 
the bitter end, the problem refused to be quite mastered. He believed, 
with Fénelon, that nothing is more difficult to attain than facility. 

When he began his experiments with the stone, lithography had come 
into such disfavor that our graphic artists, dealers and collectors alike 
had deserted it in order to concentrate their attention on etching; more 
particularly on the etchings of Rembrandt and Whistler. But Bellows 
felt that a medium which had so satisfied Daumier, Corot, Gavarni 
and Delacroix was certainly worthy of his reverent attention. He did 
a great deal to bring the stone back into popular favor, and was aided 
in the task by his friend Bolton Brown, who printed, for the painter, a 
great many of his lithographs. 


19 


Introduction 
His Drawings 


His drawings considerably outnumber his lithographs, but only a small 
proportion of them could be included in this show. He did very few 
out-and-out illustrations; among them a series of drawings for The 
Wind Bloweth, a novel by Donn Byrne, and another series for Men 
Like Gods, a romance by H. G. Wells. The Wells drawings only ap- 
peared in connection with the serial publication of the story and not in 
its final form as a book. However, half a dozen of them were later re- 
drawn and published as lithographs. (It might be explained here that 
this was a not unusual practice with Bellows. When he found himself 
particularly attracted by a subject he hked to render it in two, some- 
times even in three, mediums. A journey through the two galleries 
which house this exhibit will reveal several of these “counterfeit pre- 
sentments” of his.) 

With etching and water-color he felt no kinship at all. He made one 
essay only in etching; enough, apparently, to convince him that it was 
unsuited to his nature and needs. One of his very few water-color 
drawings, it may be explained, is to be seen in this exhibition (p. 106). 
Pastel he was leaving—as Manet did—for a later period in his career. 

With regard to the volume and variety of his work, it must be ex- 
plained that 


astonishing as it may seem—the paintings, lithographs 
and drawings in this exhibition, though they might seem to constitute 
a full life’s labor, do, as a matter of fact, represent only half of his 
completed creations. Another exhibition of precisely the same size could, 
save for lack of wall-space, have been assembled. 

‘The amazing variety of his canvases is shown, not only in their sub- 
jects but in the range of their emotional contents. Note how some of 
them are tragic, how others are gay, haunting, tumultuous, humorous 
or tender. And that is not all. What is even more baffling is the way in 
which two, sometimes three emotions, emanate from a single canvas; 
how a perturbed and agitated scene becomes, of a sudden, abstract and 
indirect; how satire and pathos are mingled; how horror and naiveté 
are sometimes juxtaposed, and how, most of all, energy and tender- 


ness are welded and made one. 


Zo 


Introduction 


Notwithstanding the fact that Bellows, at the time he died, was 
turning out work of the first importance and with the greatest enthusi- 
asm, he was making all manner of plans for the future. He had arranged 
for new work and fresh experiments in many directions, even for a 
series of heroic mural decorations, a task on which his heart had long 
been set. For Bellows was that rare product—a painter who was always 
studying, always experimenting, always wanting to assail new emi- 
nences. 

His death was nothing short of a tragedy. But it may console his 
friends to remember that, during his entire career, he worked with en- 
thusiasm and heart; that the lyrical quality which we detect as an under- 
tone in so much of his work was born directly of the happiness which he 
had felt in creating it; and that success came to him, at last, on his own 
terms, without his yielding to the demands of public taste and with no 
thought of monetary gain. 

We believe that the work of this painter—when the full panorama 
of it has been unrolled and estimated—will take its place beside the 
poetry of Whitman and the marines of Homer, and that the three will 
then be seen to constitute the most inspiriting, the most native and the 


most deeply flavored performances in American art. 


FRANK CROWNINSHIELD 


21 


A Briet Biography of George Bellows 


Gas WESLEY BELLOWS was born in Columbus, Ohio, 
August 12, 1882, the son of George and Anna (Smith) Bel- 
lows. He was a descendant of the Benjamin Bellows who migrated from 
England in 1632 and founded Bellows Falls, Vermont. 

His father was an architect and builder in Columbus. The son at- 
tended the Ohio State University, leaving there in 1904 to come to 
New York and study drawing and painting under Robert Henri. In 
1906 he opened a studio in New York and began by exhibiting three 
portraits in that year. In 1908 he exhibited his first landscape in the 
National Academy of Design. It was awarded the second Hallgarten 
prize. He became an Associate of the National Academy of Design the 
next year, at the age of twenty-seven, the youngest man ever to be 
elected an Associate. When twenty-seven, he became an instructor in 
life and composition classes at the Art Students’ League—in 1910. In 
1913 he was elected a National Academician. Meantime the Museums 
had begun to buy his works. One of his pictures went to the Metropoli- 
tan, another to the Pennsylvania Academy. Prizes and medals were 
awarded to him with increasing frequency, the list of them being a 
long one. 

On September 23, 1910, he married Emma Louise, the daughter 
of William E. Story of Upper Montclair, New Jersey. He had two 
daughters, Anne and Jean. His family life inspired many of his best 
canvases, whether of his mother, father, aunt, wife or children. 

His works were frequently exhibited abroad; in London, Paris, 
Berlin, Venice and Munich. He is represented in dozens of Museums 
and many private galleries. 

He lived, after his marriage in 1910, at 146 East 19th Street in 
New York. His summers were spent at Monhegan, Maine, Ogunquit, 
Maine, Newport, Rhode Island, Camden, Maine, Carmel, California, 
Santa Fé, New Mexico, and Woodstock, New York. He was a member 
of many Art societies and clubs and had taken a particularly active part 
in the formation and welfare of the New Society of Painters. 


He died in New York City on January 8, 1925. 


22 


Catalogue of Oil Paintings 


HE paintings in this exhibition are numbered—as they are like- 
“| Fikes numbered in the following list—in their chronological 
order. Unless otherwise indicated they are on canvas, except a few 
which are on three-ply wooden panels. The paintings are signed “‘Geo. 
Bellows,” or “‘Geo. Bellows—E.S.B.” The dates of their composition 
are indicated after their titles. The sizes are indicated in inches, the 
height preceding the width. The names of the lenders, except that of 
Mrs. George Bellows, are noted with the titles of the exhibits. 

It has been possible to reproduce, in half-tone, all of the paintings 
in the exhibition and approximately a third of the drawings and litho- 
graphs. Separate lists of the exhibited drawings and lithographs ale be 
found in this catalogue, on pages 33 and 35. 


1. Cross-Eyed Boy. 1906 


This is the artist’s first portrait. TShe model was Jimmy FLANNIGAN, a 
newsboy and brother of “Paddy,” whose portrait (No. 5) Mr. Bel- 
lows subsequently painted. 

It was in 1906 (the year in which the artist achieved the paintings 
numbered 1, 2, and 3) that Mr. Bellows opened in New York his 
first studio and exhibited his first canvas. This was nearly three years 
after he had left Ohio State University and arrived in New York to 
study under Robert Henri. “Cross-Eyed Boy” was painted in New 
York during the summer of 1906. H. 20; Ww. 16 inches. Repro- 
duced on page 41. | 


2. Early Standing Nude. 1906 


The artist’s first nude. Painted in New York; autumn. H. 72; w. 36 
inches. Reproduced on page 45. 


3. Portrait of My Father. 1906 


Mr. Bellows’ father was an architect and builder in Columbus, Ohio. 
The portrait was painted in Columbus, during the Christmas holi- 
days. H. 28; w. 22 inches. Reproduced on page 53. 

Lent by Howard B,. Monett. 


23 


IO. 


Catalogue of Paintings 


Forty-T'wo Kids. 1907 
The first painting to be sold by the artist, four years after he began the 
study of art. Painted in New York, the East River; summer. H. 42; 


w. 60 inches. Reproduced on page 42. 
Lent by Mrs. Peter Glick. 


Paddy Flannigan. 1908 


A New York urchin, brother of No. 1—“‘Cross-Eyed Boy.” Painted in 
New York; winter. H. 30; w. 25 inches. Reproduced on page 43. 
Lent by Miss Julia Peck. 


Rain on the River. 1908 


Painted in New York, Riverside Drive; winter. Honorable Mention, 
International Exposition, Buenos Aires, South America, 1910. H. 32; 
w. 38 inches. Reproduced on page 44. 

Lent by Rhode Island School of Design. 


Sharkey’s. 1909 


This was the second of the artist’s prize-fight paintings, of which there 
are six in all; it shows the interior of T’om Sharkey’s club, where the 
ex-sailor and prize fighter presided over professional bouts. The art- 
ist subsequently made a lithograph of this subject, which is now the 
rarest of all his lithographic prints. Painted in New York; summer. 
H. 36; w. 48 inches. Reproduced on page 48. 

Lent by Cleveland Museum of Art. 


Warships on the Hudson. 1909 


Painted in New York, Riverside Drive; autumn. First Prize, Newport 
Art Association, 1918. H. 30; W. 38 inches. Reproduced on page 47. 


The Bridge, Blackwell’s Island. 1909 


Painted in New York, East River; winter. H. 34; w. 44 inches. Repro- 
duced on page 49. 
Lent by Toledo Museum of Art. 


Both Members of This Club. 1909 


Painted in New York; autumn, two months after “Sharkey’s.” H. 45; 


w. 63 inches. Reproduced on page 55. 
24 


ee Be 


ieee 


ae 


LA 


aor 


17. 


18. 


Catalogue of Paintings 


Polo Game. 1910 


Painted in New York; spring; from drawings made at Lakewood. H. 45; 
w. 63 inches. Reproduced on page 46. 
Lent by Columbus Gallery of Fine Arts. 


Blue Snow; the Battery. 1910 

Painted in New York, Battery Park; winter. H. 34; w. 44 inches. Re- 
produced on page 50. 

New York. 1911 

Painted in New York, Fifth Avenue, Broadway and 23rd Street; winter. 
H. 42; w. 60 inches. Reproduced on page 57. 

Evening Swell. 1911 


Painted in New York from a smaller painting made during the previous 
summer on the Island of Monhegan, Maine. H. 30; w. 38 inches. 


Reproduced on page 51. 


. Men of the Docks. 1912 


Painted in New York; winter. Sesnan Medal, Pennsylvania Academy, 
Philadelphia, 1913. H. 45; w. 63 inches. Reproduced on page 59. 
Lent by Randolph-Macon Woman’s College, Lynchburg, Va. 


aes @ircus. 1912 


Painted in New York; summer; from sketches made at a “Society” 
Circus at Montclair, New Jersey. Received Honorable Mention, Car- 
negie Institute, 1913. H. 34; W. 44 inches. Reproduced on page 56. 

Lent by Robert Treat Paine, 2nd. 


Dr. Wiliam Oxley Thompson. 1913 


Dr. Thompson was President of Ohio State University when Bel- 
lows left Columbus, Ohio, at the beginning of his senior year, in order 
to study art in New York. Maynard Portrait Prize, National Acad- 
emy of Design, 1914. Painted in Columbus, Ohio; winter. H. 80; 
w. 41 inches. Reproduced on page 62. 


Clif Dwellers. 1913 


Painted in New York, lower East Side; spring. Third Prize, Carnegie 
Institute of Art, 1914. H. 40; Ww. 42 inches. Reproduced on page 54. 
Lent by Museum of History, Science and Art, Los Angeles. 


25 


19. 


20; 


21 


Zs 


23 


24. 


Pik 


26. 


Catalogue of Paintings 


A Day in June. 1913 

Painted in New York, Central Park; summer. ‘Temple Medal, Penn- 
sylvania Academy, Philadelphia, 1917. H. 36; w. 48 inches. Repro- 
duced on page 52. 

Lent by Detroit Institute of Arts. 


Approach to the Bridge at Night. 1913 

Painted in New York; summer. Sketched from the Third Avenue Ele- 
vated Station at Canal Street late at night while the Manhattan Bridge 
was still under construction. H. 34; Ww. 44 inches. Reproduced on 


page 60. 


Easter Snow. 1915 


Painted in New York, Riverside Drive; Easter Sunday. H. 34; w. 44 
inches. Reproduced on page 63. 
Lent by Mrs. Charles W. Goodyear. 


Nude with Parrot. 1915 


Painted at Ogunquit, Maine; summer. H. 40; W. 32 inches. Repro- 
duced on page 66. 
Lent by Mrs. Harry Payne Whitney. 


Granny Ames’s House. 1916 


Painted on the Island of Mattinucus, Maine; summer. H. 18; w. 22 
inches. Reproduced on page 61. 
Lent by Mrs. J. J. Kerrigan. 


Susan Comfort. 1916 
Painted in Camden, Maine; autumn. H. 22; w. 18 inches. Reproduced 


on page 65. 


Crehaven. 1917 

Painted in New York; winter; from a small painting previously made 
on the Island of Crehaven, Maine. u. 30; w. 44 inches. Reproduced 
on page 67. 

Lent by Mrs. Charles Wetherill MacDuff Smith. 


Vhewand 1 eam 1017 


Painted in Carmel, California; summer. H. 30; W. 44 inches. Repro- 


duced on page 64. 


Lent by Brooklyn Museum. 


26 


27 


28. 


29. 


30. 


aie 


Spe 


33+ 


35: 


Catalogue of Paintings 
eam 1017 


The younger of the artist’s two daughters. Painted in Carmel, Cali- 
fornia; summer. H. 24; w. 20 inches. Reproduced on page 69. 

Lent by Adolph Lewisohn. 

faare, 1917 

Painted in Carmel, California; summer. Panel. H. 40; w. 32 inches. 


Reproduced on page 73. 
Edith Cavell. 1918 


Painted in Newport, Rhode Island; autumn. H. 45; w. 63 inches. 
Reproduced on page 71. 


Fishermen’s Huts. 1918 

Painted in Newport, Rhode Island; autumn. Panel. H. 20; w. 24 inches. 
Reproduced on page 72. 

Return of the Useless. 1918 


French peasants returned by Germany as unfit for work. Painted in 
New York; autumn, just before the Armistice. H. 59; w. 66 inches. 


Reproduced on page 74. 


The Studio. 1919 


The artist’s studio at 146 East 19th Street, New York. A portrait of the 
artist himself, his wife, posing; his daughters (Anne and Jean) play- 
ing on the floor; his mother-in-law and the maid at the telephone; 
the printer printing lithographs on the floor above. Painted in New 
York; winter. H. 48; w. 38 inches. Reproduced on page 68. 


On the Porch. 1919 


Painted in Newport, Rhode Island; summer. H. 30; w. 44 inches. 
Reproduced on page 70. 


. Emma, in the Black Print. 1919 


The artist’s wife. Painted in Newport, Rhode Island; summer. H. 40; 
w. 32 inches. Reproduced on page 75. 
Lent by John T. Spaulding. 


Mrs. T. in Wine Silk. 1919 


Painted in Chicago; winter. The artist spent two months in Chicago as 
an instructor at the Chicago Art Institute. H. 48; w. 38 inches. 
Reproduced on page 76. 


27 


36. 


Bie 


a3. 


39: 


40. 


Ate 


42. 


43. 


Catalogue of Paintings 
Waldo Pierce. 1920 


Painted in New York; winter. H. 53; w. 43 inches. Reproduced on 


page 79- 


Cat and Pheasant. 1920 
Painted in Woodstock; spring. H. 16; w. 24 inches. Reproduced on 
page 77- 


Spring, Gramercy Park. 1920 


Painted in New York, from a drawing. H. 34; w. 44 inches. Repro- 
duced on page 78. 


Anne in White. 1920 

The artist’s elder daughter. Painted in Woodstock, New York; sum- 
mer. H. §3; Ww. 43 inches. Reproduced on page 93. 

Lent by Carnegie Institute of Art. 


Aunt Fanny. 1920 


The artist’s aunt, Mrs. Henry Daggett. Painted in Woodstock; sum- 
mer. The National Arts Club Gold Medal, 1921. First Harris Prize, 
Chicago Art Institute, 1921. H. 443; Ww. 34 inches. Reproduced on 
page 80. 

Lent by J. 8. Carpenter. 


Elinor, Jean and Anna. 1920 

Elinor is another name for the artist’s Aunt Fanny; \Jeanmieeuue 
younger daughter; Anna is the artist’s mother. Painted in Wood- 
stock; summer. Beck Medal, Pennsylvania Academy, Philadelphia, 
1922. First Prize, International Exhibition, Carnegie Institute of 
Art, 1922. H. 59; w. 66 inches. Reproduced on page 88. 

Lent by Albright Art Gallery. 


Pigs and Donkey. 1920 


Painted in Woodstock; autumn. H. 18; w. 22 inches. Reproduced on 
page 81. 


The Hudson at Saugerties. 1920 


Painted in Woodstock; autumn. H. 1614; w. 24 inches. Reproduced on 
page 82. 


28 


44. 


45. 


46. 


47. 


48. 


49. 


50. 


uke 


Catalogue of Paintings 
Portrait of My Mother. 1921 


Painted in New York; spring; from another portrait of ““My Mother” 
painted the previous summer in Woodstock. The room in this picture 
is the artist’s childhood home in Columbus, as he remembered it. Logan 
Purchase Prize, Chicago Art Institute, 1923. H. 38; w. 49 inches. 
Reproduced on page 86. 

Lent by Chicago Art Institute. 


Portrait of Katherine Rosen. 1921 


The older daughter of Charles Rosen, the artist. Painted in Wood- 
stock; summer. H. 53; W. 43 inches. Reproduced on page 83. 
Lent by Stephen C. Clark. | 


A Roumanian Girl. 1921 


Painted in Woodstock; summer. H. 44; W. 34 inches. Reproduced on 
page 58. 

Lent by Mr. Edward Coykendall, 

A Boy. 1921 

Painted in Tuxedo Park; summer. H. 34; W. 30 inches. Reproduced on 
page 84. 

serv nite Llorse. 1922 

Painted in Woodstock; autumn. H. 44; W. 34 inches. Reproduced on 
page 85. 

Introducing John L. Sullivan. 1923 


Painted in Woodstock; summer; from a lithograph of the same subject. 
Painted on a special paper and mounted scientifically. H. 20; w. 20 


inches. Reproduced on page 87. 
Emma and Her Children. 1923 


The artist’s wife and two daughters. Painted in Woodstock; autumn. 
Clark Gold Medal, Corcoran Gallery, Washington, 1923. H. 59; 
w. 65 inches. Reproduced on page 100. 

Lent by Boston Museum of Fine Arts. 


The Crucifixion. 1923 


Of this subject the artist first made a drawing, then a lithograph, and 
finally this painting. Painted in Woodstock; autumn. H. 59; w. 65 
inches. Reproduced on page 96. 


29 


52. 


53+ 


54. 


. 


ieee 


Cn 
co 


59: 


Catalogue of Paintings 
Fisherman’s Family. 1923 
The artist, his wife and daughter on Monhegan Island, Maine. Painted 


in Woodstock; autumn; from a smaller canvas. H. 38; w. 48 inches. 


Reproduced on page 92. 


Emma, in Purple Dress. 1923 


Painted in Woodstock at intervals during a period of three years. H. 633 


w. 51 inches. Reproduced on page 91. 


River bront, No. 221924 


Another rendering of an earlier canvas. Painted in New York; spring. 


H. 453; W. 63 inches. Reproduced on page go. 


The Picnic. 1924 
The artist, his family and Eugene Speicher at Cooper’s Lake, Wood- 


stock, New York. Painted in New York; spring; from a smaller can- 
vas. H. 30; w. 44 inches. Reproduced on page 99. 
Lent by Adolph Lewisohn, 


Ringside Seats. 1924 
The artist first made a drawing of this subject, then a lithograph, finally 


this painting. Painted in Woodstock; summer. H. 59; w. 65 inches. 
Reproduced on page 89. 


. Dempsey—Firpo. 1924 


This subject was first treated as a drawing, then as a lithograph, and 
finally as a painting. It was the last of the artist’s six prize-fight pic- 
tures. Painted in Woodstock; summer. H. 51; Ww. 63 inches. Re- 


produced on page 102. 


. Lady Jean. 1924 


The artist’s younger daughter, Jean. Painted in Woodstock; summer. 


H. 72; w. 36 inches. Reproducéd on page 95. 


Venus. 1924 


Painted in Woodstock; summer. H. 51; w. 63 inches. Reproduced on 


page 101. 


30 


60. 


GE. 


62. 


63. 


Catalogue of Paintings 
Mr. and Mrs. Philip Wase. 1924 


Neighbors of the artist. Painted in Woodstock; autumn. H. 51; w. 63 
inches. Reproduced on page 94. 


Two Women. 1924 


A new treatment of Titian’s theme: “Sacred and Profane Love.” This 
is the last large canvas achieved by Mr. Bellows. It was first exhibited 
at the New Society of Artists on January 5, 1925, three days before 
the artist’s death. Painted in Woodstock; autumn. H. 59; w. 65 inches. 
Reproduced on page 98. 


Jean, Anne and Joseph. 1924 


The artist’s two daughters, and Joseph Carr. Inspired by an earlier 
painting made at Newport, R. I., in 1919. H. 32; Ww. 40 inches. 
Reproduced on page 97. 


The Picket Fence. 1924 
The last picture painted by George Bellows. Painted in New York, 


December, from a smaller and earlier picture called ‘““The White 
Fence.” H. 26; w. 38 inches. Reproduced on page 103. 


ou 


Catalogue of Drawings 
Arranged in chronological order 


R. BELLOWS was a prolific draughtsman. Of his drawings 
M approximately a fifth have been selected for this exhibition. 
Only half of these have been reproduced in this catalogue—due solely 
to a lack of space. All of the drawings, with the exception of several 
anonymous loans, are the property of Mrs. George Bellows. 


TITLE DATE SIZE 
I. Polo at Lakewood WOM lab ne MG eG 
Reproduced on page 106. 


2. Drawing for the Cliff 
Dwellers 1913 19% 18 
Reproduced on page 107. 


3. Drawing for lithograph, 


“The Model” 1917 11% 8 

4. Sketch of Jean 1919 6 9 
Reproduced on page 109. 

5. Young Horse 191g 278 37% 
6. Sketch for Portrait of My 

Mother 1921 16%. 104 
7. Sketch for the Roumanian 

Girl 1921 11% 8 
8. Summer Landscape 1921 aa 9 


Reproduced on page 110. 


g. Victorian Lovers 1922 1914 iy 


Reproduced on page rrr. 
10. The Bouquet 1922 934 934 
os 


Lede 


T2 


Id. 


Tse 


24. 


Catalogue of Drawings 


TITLE 


An 1860 Lady 


Sketch for Portrait of 
Samuel Knopf 


mDenkeyiCart 


Reproduced on page 113. 


An Irish Lady . 
Reproduced on page 108. 


Strange Visitors 


Reproduced on page 117. 


. Portrait of Mrs. A. 


Reproduced on page 116. © 


. Sketch of a Woman 
. Sketch for “The Violinist” 


. Ice Cream Store, Woodstock 


Reproduced on page 114. 


. Nude No. 15 
. Nude No. 1 
. Head of a Woman 


. Nude Study (seated, seen 


from back) 
Reproduced on page 112. 


Nude Study (seated, in 
chair ) 
Reproduced on page 115. 


34 


DATE 


1922 


SIZE 


IO 


22 


Catalogue of Lithographs 
Arranged in chronological order 


EORGE BELLOWS did not take up lithography until the year 
@ 1916—+ten years after he had begun exhibiting paintings in oil. 
Although he had less than nine years in which to work at lithography, 
he yet managed to achieve a total of 170 subjects in this medium. Of 
these, approximately a fifth were selected for this exhibition. Because 
of lack of space, only a negligible number (thirteen) of the exhibited 
prints have been reproduced in the catalogue. All of the lithographs in 
the exhibit are the property of Mrs. George Bellows. 

Bellows was fortunate in meeting Mr. Bolton Brown, an artist who 
had long given attention to lithography, and who knew everything 
there was to know about the technical side of the medium. In the year 
1921, five years after he began lithography, the artist induced Brown 
to assist him and to take charge of the actual printing of the litho- 
graphs which he had drawn on the stone. For four years this partner- 
ship continued. Shortly after Mr. Bellows’ death, a show of 158 of his 
lithographs was held at the galleries of Frederick Keppel & Co., in New 
ork; 


NO. OF 
TITLE DATE PROOFS SIZE 


levillage Prayer Meeting 1916 77 H. 18144” W. 2244” 


The first of George Bellows’ lithographs. 
Reproduced on page 120. 


2. Artists’ Evening 1916 65 834 1214 
The scene is Pettitpas’ restaurant. It was managed by three French women 
and was the constant habitat of John B. Yeats, the father of W. B. 
Yeats. In the lithograph we see Mr. Yeats, pére, Robert Henri, the 
artist’s wife and the artist himself. 
Reproduced on page 123. 


3. Business Men’s Class, 


NevicG A. 1916 64 yy 174 
4. Splinter Beach 1916 70 154 20 


Ai) 


COO ~~] ON 


Catalogue of Lithographs 


NO. OF 
TITLE DATE PROOFS SIZE 
. Benediction in Georgia 1916 80 16%4 20% 
. In an Elevator UG D0 ay 4 IO 8 
. The Old Rascal 101 amas 10% 9 
. Inthe Park (second 
state ) 1916 59 1634 21 
. Electrocution LO amy 1 8iz 1% 
. A Stag at Sharkey’s 1917 98 1834 24 


The rarest of the artist’s lithographs. The scene is the old boxing club in 
New York which was run by Tom Sharkey. 

Reproduced on page 121. 

, Initiationanithesbrat 19017, a6 104 1234 

. The Shower Bath Amis pier a ats: 16 233% 
Reproduced on page 122. 

. Dance ina Mad-House 1917 69 1838 241% 
Reproduced on page 124. 


. Solitude Ke iy MOTO) 9 154 
. Murder of Edith . 

Cavell 1918 uncertain 1834 2434 
. Introducing the Cham- 

pion Tol Th ge 84 7 
. Study of My Mother, 

No. 2 L921 0,3 1134 8 
eel hesParlomCrittc T92T 38 814 4 
. The Hold-up (first 

state ) ME See, 20 11 814 
. Sunday, 1897 1921 54 12 1434 
. Portrait Arrangement 

—Emma 1921 62 114 814 
. MyFamily (2ndStone) 1921 56 10% 8 


Reproduced on page 125. 
36 


42. 


Catalogue of Lithographs 


TITLE 


ae jcan 

@eiecos ot the Sea 

. The Black Hat 

. Old Billiard Player 
. A Knockout 

ee orees(sirls 
meAnné 

. Irish Grandmother 
motucy, WVirs. R. 

. Irish Town 


. Lhe Crowd 


Reproduced on page 127. 


. Lhe Law is too Slow 
. Billy Sunday 


NO.OF 
DATE PROOFS 
TOU eo 
ie Lys 
I92I 55 
1921 43 
1921 uncertain 
12 Ieee 
1921 43 
1923490 
Map e Jae 
LOlter 28 
ODN nee 
TO 2R m2. 
1923 60 


SIZE 

54 44 
814 1034 
13 9 

9 WA 
154 2134 
11/4 1378 
834 834 
934 814 
I 72 1034 
104 8% 
1434 1134 
18 14 
9 16/4 


Made when Billy Sunday was at the height of his fame as a revivalist and 


exhorter. 
Reproduced on page 126. 


Bowes 


. Amour 


Reproduced on page 128. 


me can 


. Portrait of John Carroll 1923 42 
. The Return to Life 
. The Irish Fair 
mreortrairot Julian 


LO ue AO 
[923 9) od: 
1923 45 
LOS 3 ay 2 
1923 58 


A portrait of the artist’s younger daughter at the age of eight. 


Reproduced on page 130. 


Anne 


CO220N5O 
oF 


114 814 
18 144 
19 2034 
8 8 
1734 14 
9A 7 
934 814 


43. 
44. 
45. 
46. 
47: 
48. 


49. 
50. 


rare 


52. 


53: 
54. 
55- 
56. 
57: 
58. 
59. 


Catalogue of Lithographs 


TITLE 


Punchinello in the 
House of Death 


Allan Donn Puts to Sea 
Reproduced on page 129. 


The Christ of the 
Wheel 


Nude Study (woman 
lying on pillow) 

Reproduced on page 132. 

Sketch of Anne 


Auntie Mason and Her 
Husband 

Sixteen East Gay Street 

Nude Study (woman 
lying prone) 

Nude Study (girl 
standing with hand 
raised to mouth) 


Nude Study (woman 
stretched on bed) 


Dempsey and Firpo 
Old Irish Woman 

The Journey of Youth 
The Actress 

Anne in her Black Hat 
The Drunk 


Portrait of Eugene 
Speicher 
Reproduced on page 131. 


DATE PROOFS 


1923 
1923 


1923 


NO. OF 


60 
17 


60 
42 
42 


‘yl 
ee: 


38 


40 


32 
103 
67 
49 
43 
40 
35 


50 


164 
1534 


534 


SIZE 


Paintings 


All the paintings in this Exhibition have been repro- 
duced im half-tone and will be found in this cata- 
logue. These reproductions are followed by repro- 
ductions of twelve of the drawings and thirteen of 
the lithographs—a total of eighty-eight plates in 
all, 


I 


Cross-Eyed Boy 
1906 


PAGE 41 


Forty-T'wo Kids 


1907 


PAGE 42 


5 


Paddy Flannigan 
1908 


PAGE 43 


6 


Rain on the River 


1908 


PAGE 44 


Early Standing Nude 


1906 


PAGE 45 


II 


Polo Game 


I9IO 


PAGE 46 


canner 
ee 


8 


Warships on the Hudson 
Tig09 


PAGE 47 


i 


Sharkey’s 
1909 


PAGE 48 


Z 


The Bridge, Blackwell’s Island 
1909 


PAGE 49 


=. a 


I 


e) 
pt 
oO 
Lame! 


seeahew tate 


> 
w 
oO 
b 
ig} 
= 
Oo 
G 
AQ ~ 
S 
e) 
S 
WY 
oO 
=) 
— 
ae 


PAGE 50 


14 
Evening Swell 


IQII 


PAGE 51 


19 ) 
A Day in June | 
aS 


PAGE 52 


3 


Portrait of My Father 
1906 


PAGE 53 


8 


Cliff Dwellers 


I 


1913 


PAGE 54 


IO 


Both Members of This Club 
1909 


PAGE 55 


16 
The Circus 


1912 


PAGE 56 


13 
New York 


IQII 


PAGE 57 


S 
oe 
< 
oy 
= 
= 
= 
) 
pe 
x 


105 
Men of the Docks 


1912 


PAGE 59 


20 


Approach to the Bridge at Night. 
1913 


PAGE 60 


Granny Ames’s House 


1916 


PAGE 61 


17 
Dr. William Oxley Thompson 
1913 


PAGE 62 


21 


Easter Snow 
1915 


PAGE 63 


26 


The Sand Team 
IQI7 


PAGE 64 


24 
Susan Comfort 
1916 


PAGE 65 


22 


Nude with Parrot 
1915 


PAGE 66 


25 
Crehaven 
1917 


PAGE 67 


32 
The Studio 


1919 


PAGE 68 


27 
Jean 
1917 


PAGE 69 


33 


On the Porch 
1919 


PAGE 70 


29 


Edith Cavell 
1918 


PAGE 71 


30 


Fishermen’s Huts 


1918 


PAGE 72 


PAGE 73 


31 
Return of the Useless 


1918 


PAGE 74 


34 
he Black Pr 


1919 


int 


int 


Emma, 


PAGE 75 


$9) 


Mrs. T. in Wine Silk 
1919 


Sl 


Cat and Pheasant 


1920 


PAGE 77 


8 


3 
Spring, Gramercy Park 


1920 


PAGE 78 


36 
Waldo Pierce 


1920 


Copyright J. S. Carpenter 


40 


Aunt Fanny 


1920 


PAGE 80 


42 
Pigs and Donkey 


1920 


PAGE 8I 


43 
The Hudson at Saugerties 


1920 


PAGE 82 


45 


Portrait of Katherine Rosen 


1921 


PAGE 83 


47 
A Boy 


1921 


PAGE 84 


48 
The White Horse 


1922 


| PAGE 85 


HY 


Copyright by Chicago Art Institute 


44 
Portrait of My Mother 


1921 


PAGE 86 


49 


Introducing John L. Sullivan 
1923 


PAGE 87 


AI 


Elinor, Jean and Anna 


1920 


PAGE 88 


56 


Ringside Seats 
1924 


PAGE 89 


54 


River Front, No. 2 
1924 


PAGE 9O 


53 


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§2 
Fisherman’s Family 
1923 


PAGE 92 


39 
Anne in White 


1920 


60 
and Mrs. Ph 


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i 


Af 


1924 


PAGE 94 


i : 
ady Jean 
1924 


PAGE 95 


SI 
The Crucifixion 
1923 


PAGE 96 


62 


Jean, Anne and Joseph 
1924 


PAGE 97 


I 


6 


Two Women 


1924 


PAGE 98 


8) 


The Picnic 
1924 


PAGE 99 


50 
Emma and Her Children 
1924 


PAGE IOO 


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Venus 
1924 


PAGE IOI 


eepognsn.snnatneencoenwn 


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Dempsey—Firpo 
1924 


PAGE I02 


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63 


The Picket Fence 
(The Artist’?s Last Canvas) 


1924 


PAGE 103 


Drawings 


I 


Polo at Lakewood 


I9IO 


PAGE 106 


e # 


me 


Drawing for the Cliff Dwellers 


IO13 


PAGE 107 


Tq 
An Irish Lady 


1922 


PAGE I08 


srseoessentansoconseite 


4 


Sketch of Jean 
1919 


PAGE 109 


8 
Summer Landscape 


1921 


PAGE IIO 


ictorian Lovers 


V 


1922 


PAGE III 


spss ai ai 


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23 
Nude Study; Seated. Seen from Back 


1924 


PAGE? 


13 
Donkey Cart 
1922 


PAGE I13 


es See, oe ae te . 


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19 
Ice Cream Store, Woodstock 
1924 


PAGE II4 


2.4 


Seated in Chair 
1924 


Nude Study 


PAGE II5§ 


16 
Portrait of Mrs. A. 


1922 


PAGE I16 


5 


Strange V 


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1922 


PAGE II7 


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Village Prayer Meeting 
1916 


PAGE 120 


ee er 


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A Stag at Sharkey’s 
1917 


PAGE I2I 


12 
The Shower Bath 


1917 


PAGER 2:2 


ists’ Evening 


Art 


1916 


PAGE 123 


13 
Dance in a Mad-House 
1917 


PAGE 124 


22 


ily (Second Stone) 


My Fam 


1921 


PAGE 125 


35 | 
Billy Sunday 
1072 


PAGE 126 


33 


The Crowd 
1923 


PAGE 127 


LRRD ede 


O 


4 
Amour 


1923 


PAGE 128 


44 


Allan Donn Puts to Sea 
1923 


PAGE 129 


PAGE 130 


41 
Jean 
1923 


59 
Portrait of Eugene Speicher 


1924 


PAGE I3I 


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1924 


4 
Woman Ly 


Nude Study, 


PAGE 132 


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Of this Catalogue Iwo Thousand Copies were Printed 
by the Yale University Press under direction of 
Carl Purington Rollins in October, 1925. 
Second Printing of Iwenty-five Hundred Copies 
Printed in October, 1925. 


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